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    Why are you waking me up for labor?

    Aftershocks: Is the blastoma baby bumming everyone out on Real Housewives of NewJersey?

    Joseph Campana
    Theodore Bale
    May 27, 2010 | 2:22 pm
    • Danielle only wanted a little protection for the blastoma baby benefit.
    • As usual, everyone is getting along.

    It was a tale of two babies — the one ruddy with health, the other stricken with cancer. It was also a story of two young adults struggling in the shadow of successful parents: the enterprising young man an entrepreneur-to-be and the indifferent girl in need of a life coach.

    Weighty themes abounded in the last installment of The Real Housewives of New Jersey. As Dina Manzo weeps upon becoming a godmother, Danielle gets busy finding just the right company for her upcoming season in hell.

    Last week The Real Housewives of New York (yes, we can't just have one Housewives season going at a time) quibbled, cried, and boozed it up by sea and by land in St. John, making us fear we’d be shipwrecked in a never-ending therapy session. Maybe those ladies should set sail for Franklin Lakes to gain some much needed perspective.

    As the show opens, gorgeously made-up Teresa Giudice moans as she climbs the stairs to tell sleeping-in-that-day husband Joe that she needs to deliver her baby. He seems irritated and takes his time making a fresh pot of coffee for himself.

    Daughter Gabriella wants breakfast (“FRENCH TOAST!”), which multitasking Teresa makes as she reads email and waits for “Mr. Slow Poke” to drive her to the hospital. Everyone seems bored by the fourth time around for the couple, even Dr. Gerardis, their OB/GYN.

    Joe still isn’t awake in the waiting room, fiddling on his mobile while Teresa applies lipstick. She calls Dina, who asks her “Did you make it pretty?” It seems the newborn will have a perfect view as she emerges into the world. “My chuckie? I tried to shave it this morning,” Teresa explains.

    As we watch what looks like a 16-guage needle dive into Teresa’s iodine-splashed spine, suddenly the images aren’t so funny. The camera remains fixed for minutes on the sign “Labor/Delivery Room” as Teresa shrieks and the subtitles spell out her attempt at “It’s a girl!” Those camera folks at Bravo always know when to leave a good thing alone.

    From one baby to another and stripping ...

    Meanwhile, as Danielle enjoys lunch at the pristine Preakness Diner with long-time friend Kathy (this is the first we’ve heard of her), her eyebrows knit when she hears disturbing news.

    Diner owner Chris comes out to explain that his 15-month-old daughter Emmanuela has been diagnosed with an extremely rare cancer. Chris is so poignant and humble you want to get your checkbook out when he asks Danielle to help raise the $10,0000 to $20,000 he and his wife will need each week for healthcare.

    Danielle says she’ll do anything she can to help. But piercing music stabs our ears as the venue of the benefit is announced: The Brownstone, owned by the family of one of Danielle’s worst enemies, redhead Caroline Manzo.
    And if you’re thinking what we were thinking, the answer is yes. Danielle would steal the limelight even from a baby with a blastoma.

    Maybe we felt a little sorry for her last season when Caroline called her garbage, even if it seemed true. But she 's truly trash when she visits ex-felon friends to secure bodyguards for her upcoming appearance at the benefit for baby Emmanuela.

    As a taxidermy bobcat leers over the fireplace, Danny and John, whose unrevealed crimes seem to linger in the air like a cheap cigar, lounge on the sofa. “When Danny takes my back, people better be listening,” Danielle explains to the camera.

    Well, we would listen. Danny and John seem straight from a sitdown on The Sopranos.

    The young adults in town are struggling with career decisions, and bright-eyed Christopher finally gets a chance to work on his strip-club cum car-wash venture. His folks arrange for him to work at Perfect Shine, a friend’s car wash, on Wednesday, the slowest day for business.

    To prepare, Christopher interns for one day at a high-rollers gentleman’s club in Manhattan. When he brings girls to promote business on his first day at Perfect Shine, there’s skepticism all around. But when the men pour in for a wash and polish from Christopher’s tattooed young friends in Daisy Duke shorts, owner Rick is thrilled. Caroline couldn’t be prouder. It seems she’s taught her son the difference between lowbrow “strip joints” and respectable “strip clubs.”

    Meanwhile, Ashley shuffles back to the homestead, explaining that she’s moving forward with her plans. She may not be looking for a job, but she’s definitely looking into looking for a job. Mom tries to help out, but Ashley throws cold water on the idea of a life coach. After all, she’s certain she might be interested in a career as a fashion-merchandiser-music-manager-zoologist.

    Even extra-dull husband Chris laughs off the life coach. After their second child, the energy between them seems to have dissipated. But Chris teases her, saying “you don’t want to see what’s in that safe!” Of course, that’s all she wants to see.

    Jacqueline feigns horror at first. As one gun after another emerges from the refrigerator-sized safe, Jacqueline holds them and “models” for Chris. Her voice becomes excited, feverish, and suddenly Franklin Lake’s newfound Patty Hearst fingers her latest glamour accessory: a sash of shiny bullets.

    Oh how Jacqueline beams.

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    Movie Review

    New comedy I Want Your Sex saddles an all-star cast with a dull story

    Alex Bentley
    Jul 31, 2026 | 2:15 pm
    Cooper Hoffman and Olivia Wilde in I Want Your Sex
    Photo courtesy of Magnolia Pictures
    Cooper Hoffman and Olivia Wilde in I Want Your Sex.

    Writer/director Gregg Araki has been making provocative movies for nearly 40 years, releasing his debut — Three Bewildered People in the Night — in 1987. Most of them have had plotlines that revolved around sex in one way or another, and for his latest — his first film in 12 years — he’s putting it right there in the title, I Want Your Sex.

    Elliot (Cooper Hoffman) is an aimless twenty-something who can’t even afford the rent for his apartment with best friend, Apple (Chase Sui Wonders). Thankfully, he finds a job at the gallery of artist Erika Tracy (Olivia Wilde), who is open with her sexuality both in her artwork and in her day-to-day life. That soon includes Elliot, whom she convinces to enter into a dominant-submissive relationship with her, with sessions taking place both at work and her home.

    Elliot, who’s in a going-nowhere coupling with Minerva (Charli XCX), is more than willing to participate, both because it lets him feel something he doesn’t get normally and because Erika offers a perspective on sex that’s much different from people of his generation. But as he gets in deeper with her, he starts to lose a sense of himself, going down a path in which he finds himself talking to police detectives Zem (Johnny Knoxville) and Zola (Margaret Cho).

    Araki does his level best to make I Want Your Sex into a broad comedy, and early on it seems as if he might succeed. The deadpan way that sexual objects appear in the film (a penis-shaped rug in Elliot and Apple’s apartment, a vagina artwork with chewed gum as the medium) make for amusing sight gags. He also makes Elliot the bewildered other in multiple twosomes, with Minerva being the funniest, as she’s way more interested in studying than his ham-fisted attempts at sex.

    It’s clear that Araki wants the film to be a commentary on the generational differences about sex, but he fumbles his own idea. It starts with an on-the-nose conversation between Erika and Elliot, and continues with the various dalliances, which seem to be more about making Elliot look and feel ridiculous than giving true insight. Their encounters certainly open his mind about what sex can be, but their one-note nature makes them repetitive and frankly boring, odd considering the acts in which the two engage.

    The uninspired storytelling makes the 90-minute film drag way more than it should. Araki includes a few other characters to try to vary the tone of the film, including gallery workers Zap (Mason Gooding) and Vikktor (Daveed Diggs), but their early promise yields little results. The framing device of Elliot’s interview with the detectives never works, especially because Araki completely neuters the personalities of Cho and Knoxville for seemingly no good reason.

    The cast as a whole goes to waste. Hoffman is showing the promise of his late father (Philip Seymour Hoffman), and even though he’s appealing here, the material pulls him down. Wilde just made her own provocative movie about sex (The Invite), and this one pales in comparison despite her heightened performance. Wonders, Charli XCX, and Gooding are all young stars who deserve to be showcased much better than they are in this film.

    A film called I Want Your Sex is announcing itself as daring and alluring, but this film contains almost none of those qualities. Instead, it’s a slog that only occasionally has something interesting to show or say, mostly relying on the power of its actors to hold viewers’ attention — and failing at even that.

    ---

    I Want Your Sex is now playing in select theaters.

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